I think these two sentences in the NY Times review pretty much nail it:

Quote

There’s much to enjoy in “Baby Driver,” including the satisfactions of genuine cinematic craft and technique, qualities that moviegoers can no longer take for granted...

... “Baby Driver” is so good that you want it to be better and go deeper, for it to put down its guns (or at least hold them differently) and transcend its clichés and cine-quotes so it can rocket out of the genre safe box into the cosmic beyond where craft and technique transform into art. That’s admittedly somewhat of a greedy complaint, particularly given how much Mr. Wright does right and that he clearly wants you levitating out of your seat.

I'd hoped I'd love it too. I'm not as enthusiastic as I was for Hot Fuzz and Scott Pilgrim. It's still really good, but Edgar's preparation work seems rushed. Maybe he wanted to cut on the development time after the Ant Man debacle...

There are tons of very, very positive reviews. The funny thing is that people are lauding what was done better in at least 2 if not 3 of his previous films. The use of music here is cool, but not as impressive to me as in Scott Pilgrim. He even had some plain musical moments in The World's End (on The Doors, for instance). I'd love to be able to do a film like this though.

I'd hoped I'd love it too. I'm not as enthusiastic as I was for Hot Fuzz and Scott Pilgrim.

I thought Scott Pilgrim was very clever and very funny; Hot Fuzz not so much. Baby Driver is a nice blend of humor and action. The plot is nothing special; the execution is everything. I laughed myself sick through the "Hocus Pocus" sequence (all the action stopping during the yodeling, for example; the rat-tat-tat of the automatic weapon synced perfectly with the percussion; etc.) Kevin Spacey's final line put me on the floor.

Logged

That's what you get, Drink, for not appreciating the genius of When You Read This Letter.